First off, I love hearing this kind of energy back in K-pop. NA‘s dance beat isn’t anything new or idiosyncratic, but its insistent pulse makes for an exciting listen. This intensity helps showcase Hwasa’s natural charisma, drawing out a feistiness that gives the track character. She shines on the vocal-led pre-choruses, varying her delivery for maximum effect.

Unfortunately, NA‘s chorus is a letdown. The effusive production calls for a fleshed-out hook where Hwasa can really belt. Instead, the song reverts to the tired sing-talk that’s become a K-pop staple over the past few years. It’s all attitude, attitude, attitude. But without robust melody or compelling flow to back that attitude up, the hook feels more like posturing lip service than a true declaration of confidence. It’s a shame, because I love this sonic direction for Hwasa and we know she has the talent to knock it out of the park. It’s yet another case of TikTok virality taking precedence over songwriting that might linger past a thirty second sound bite.

Grade: C+

Whatever your thoughts on the song’s quality, GGUM certainly can’t be accused of playing things safe. It’s a weird little track, often warping Yeonjun’s vocals into a high-pitched alter ego. This unfolds over a dynamic beat that mixes EDM bombast with more typical hip-hop swagger. This blend reminded me immediately of late-2000’s Black Eyed Peas. Whether that’s a compliment or not, I’ll leave up to you. Even I’m not sure at this moment! Whatever it is, GGUM is a catchy novelty. Like its titular reference, it will stick in your brain whether you like it or not.

While GGUM‘s novelty is ear-catching on first listen, I have my doubts about its longevity. Apart from its many sonic tricks, there’s really not much happening within the song itself. The hook is repetitive and uninteresting and the verses are standard idol rap dressed in a fancy package. More than anything, the track feels like a showcase for Yeonjun’s obvious charisma. I’d challenge him to meld that charisma to an equally-compelling song next time around.

Grade: C

I’m assuming KJRGL will be the latest group to straddle the line between Japanese and Korean promotions, similar to SM’s NCT Wish. This makes them a little hard to classify, but as long as the music hits I’m not too concerned with language. With that in mind, Overture ~ The Blue Wave shows promise but could use some polish. I like the song’s propulsive synth atmosphere. The production has a satisfying fullness that sweeps you off your feet. An unneeded breakdown in the second verse briefly upends this goodwill, but overall the energy remains high and exciting.

I’m not as convinced by Overture‘s top line. The melodies feel overly busy, often forcing the guys’ voices into awkward phrasing that plays against the swift focus of the instrumental. Despite this, the chorus is instantly catchy and has enough oomph to match the effusive synths. A few small tweaks here and there would make a world of difference, but I’m excited to hear where KJRGL go next.

Grade: B-

As a spin-off to my Battle of the B-sides feature, I’m pleased to announce the arrive of “Battle of the Title Tracks!” In this feature, I’ll be pitting three K-pop title tracks/singles against each other and choosing a winner. These songs will mostly be from pre-2016 since I’ll try to focus on music I haven’t yet written about on the blog.

As always, the competition is all in good fun. Most importantly, I hope you discover (or re-discover) some great songs!

Battle of the Title Tracks: Round Four

Hyolyn – Lonely (2013)

Hyolyn made her solo debut quite early in Sistar’s career, releasing a pair of title tracks to showcase various sides of her musical persona. Lonely is the more reserved of the two – a gentle, piano-driven mid-tempo. Usually, I’d be tempted to call this type of song “dull” or “snoozy,” but Hyolyn elevates the softness of the sound with her beautifully breathy vocals. She’s one of my all-time favorite K-pop vocalists – instantly recognizable and always compelling. The same could be said for much of Sistar, really. How lucky were we to have them? With that said, she’s released much stronger solo material since this came out.

PSY – It’s Art (2011)

When thinking of PSY’s music, it’s easy to pigeonhole him into some comedic, meme-making role. However, songs like It’s Art reveal a deeper musicality and surprising level of sentiment. The song is among his most anthemic, melding dancefloor energy with insistent symphonic heft. The piano arpeggio that drives most of the track is instantly memorable, giving the instrumental tons of character. The song surges and swells with utter confidence, blossoming into a knockout chorus that sees PSY belting at the top of his lungs. And just after pulling back for a softer bridge, It’s Art climaxes in the greatest of pop music tricks: a triumphant key change.

Super Junior – Don’t Don (2007)

It’s been fascinating to hear how some elements of SM Entertainment’s much-venerated “SMP” hybrid genre have continued to make their way into the agency’s current roster. The blistering mix of pop, rock and hip-hop was at its peak from about 2004-2014 and echoed a daring idol sound that was prevalent in many east Asian markets at the time. Just listen to Taiwan’s Energy if you don’t believe me! Don’t Don might not hold together as well as a legendary track like Rising Sun, but it’s cut from the same cloth. Hard rock guitar collides with programmed dance beats and even a violin solo to forge a real showstopper. The layered chorus is so satisfying.

My Verdict:

The winning track of this edition is PSY’s It’s Art!

Readers, what do you think? Leave your own ranking in the comments!

Here were my top ten takeaways (in no particular order), along with many video highlights from the show.

1. Idols were singing

Yes, I’m aware that you don’t have to be belting your lungs out to be a good singer and that there are many ways to express with your voice, but my number one takeaway after watching this festival was that nearly every single idol act was singing as if their life depended on it. Power note after power note after power note – even from the groups I didn’t expect! I know virtuosic vocal skill isn’t treasured the way it used to be, but I miss this very much. I could feel passion radiating out of the screen.

2. Music was very upbeat

We were clearly in the throes of the EDM pop revolution. Many acts included DJs as part of their performance, but even the non-remixed tracks were underpinned by thumping dance beats. Song after song, the show felt like a real party with bangers and bombast to spare. “Chill” was definitely not a thing. Neither were “vibes.”

Also, “the robot” was apparently considered a cool dance move this year…

3. The style was “everything at once”

It’s as if the artists raided every Forever 21 and Claire’s in sight and threw everything on at once. It didn’t matter if it matched or not. In fact, it was better if it didn’t! And when idols weren’t dressed in neon and noisy patterns, they borrowed the militaristic theatricality of Michael Jackson. My favorite look was 100%’s – especially the streamers hanging from the arms!

4. And the pants were very tight

So tight.

5. Some huge 2012 groups haven’t maintained their legacy in ways that others have

Groups like MBLAQ and Secret were very big in 2012 and the audience reaction bore that out. However, for multiple reasons it feels like they’re not mentioned in the conversation much any more. Sometimes I forget how awesome these acts are.

6. The K-pop ecosystem was still small

Today’s year-end festivals are often splintered between agencies, with some corporations preferring to withhold their roster so that they can appear at their own concerts. Nearly every big artist was present for 2012’s show, from YG to SM to JYP and everyone in between. It’s fun to see all these second-gen legends together.

7. Everyone looked so young…

I mean… duh. That’s how time and aging works. But it was still jarring to see groups like Beast and BTOB and B1A4 looking like rookie kids. It’s amazing what they were able to achieve at that age and watching them grow into adults has been very satisfying.

8. …but JYP has always looked the same

I’ve decided he’s one of those people who looked old when he was young and looks young when he’s old. I don’t know how that’s possible, but it’s true.

9. We’ve lost too many idols from this second generation

Seriously. With groups like SHINee, Kara, f(x) and 100% appearing in this festival, it’s sobering to reflect on how many young talents we’ve lost far too soon.

10. 2012 was one hell of a year for pop music

It’s no coincidence that half of my top ten all-time K-pop songs were released in 2012. Almost all were performed on this broadcast, including The Chaser, Sherlock and Catch Me. But beyond so many legendary songs, the overall consistency was also high. You just knew that 90% of everything released would be awesome. That’s kind of incredible when you think about it.

By now, it’s clear that NCT Wish are targeting a similar market to early NCT Dream, offering bright jolts of bubblegum pop with just enough edge to tie them into the NCT brand. 3 Minutes sounds the most Dream-like yet, pulsing along retro synth stabs and sweet melodies that might have sounded like a nursery rhyme in different context. The group’s youthful voices compliment this sugary sound, making the concept feel authentic to them.

The song’s production throws in a few band elements for good measure, adding rock percussion that helps anchor the otherwise buoyant instrumental. The arrangement is more complex than it lets on, even if 3 Minutes is built upon a relatively simple series of hooks that repeat often. The track is more ‘quirky side quest’ than ‘epic journey,’ and that approach will likely fit in well on the album. Now I’m even more curious to hear how their title track will sound.

Grade: B

I’ve been a fan for a decade now and envy everyone who’s able to experience their incredible catalog for the first time. Here’s every single with my personal highlights. Now you have no excuse but to dig in!

(*Romanization is taken from the official titles on Apple Music, even though some of them seem a bit weird to me)

News Nippon (2003)

9+ rated songs: none
Other highlights: Their debut single (NEWSニッポン) is, of course, worth mentioning. It’s quite cheesy but totally iconic and the slow-to-fast tempo changes work pretty well to set up that mammoth chorus. Private Hearts is also well worth a listen.

Kibou (Yell) (2004)

9+ rated songs: none
Other highlights: The title track (希望〜Yell〜) is a 2000’s classic and probably deserves a 9+ rating just for that. Good News! is also a fun pump-you-up anthem, though very cheesy. Let’s Go The Planets has a cool psychedelic touch.

Akaku Moyuru Taiyo (2004)

9+ rated songs: I just adore Akaku Moyuru Taiyo (紅く燃ゆる太陽). Fantastic high energy pop music that sounds very dated in the best way.
Other highlights: Not much else stands out to me here, though Beach Angel is a fun pastiche.

Cherish (2005)

9+ rated songs: none
Other highlights: Cherish (チェリッシュ) is a pleasant mid-tempo – very of its era. However, Shock Me’s rubbery groove and rock bombast is the real highlight here. It’s a perfect mid-2000’s Johnny’s sound.

TEPPEN (2005)

9+ rated songs: TEPPEN is an early discography highlight, very iconic and incredibly galvanizing.
Other highlights: Everything else here feels like fluff in comparison.

Sayaendo / Hadashi no Cinderella Boy (2006)

9+ rated songs: Hadashi no Cinderella Boy (裸足のシンデレラボーイ) is easily one of my favorite News songs. I adore the chorus so much. It’s melodically perfect and has such inspiring energy. Honestly, one of the best J-pop songs of the 2000’s and a definite “10.”
Other highlights: Sayaendo (サヤエンドウ) is no slouch, either. I love its Eastern European (?) sound.

Hoshi o Mezashite (2007)

9+ rated songs: none
Other highlights: The title track (星をめざして) is a very pretty mid-tempo that really soars during the chorus. Boom! Boom! Power is a banger of a dance/rock hybrid. Akai Hana (紅い花) really leans into their rock side with powerful vocals.

Weeeek (2007)

9+ rated songs: Weeeek is one of J-pop’s most iconic tracks. The chorus is inescapable. It’s a song they almost always perform, with good reason.
Other highlights: As is the case with some of their best singles, the b-sides aren’t much to write home about.

Taiyo no Namida (2008)

9+ rated songs: none
Other highlights: Taiyo no Namida (太陽のナミダ) is a beautiful mid-tempo, but it’s the banging electro-dance of Bambina (バンビーナ) that truly stands out.

Summer Time (2008)

9+ rated songs: none
Other highlights: Summer Time has a wonderfully wispy chorus that automatically puts me in a summer mood. Baby! Be My Baby! is a surprisingly straightforward rocker.

Happy Birthday (2008)

9+ rated songs: none
Other highlights: Happy Birthday is so subtly addictive. That shuffling beat is so catchy and the interplay of the vocals works well to accent the equally memorable melodies. Game Of Love is a fun new jack swing number – not a genre the group explored often.

Koi No Abo (2009)

9+ rated songs: none
Other highlights: The title track (恋のABO) is an energetic disco pastiche that’s a ton of fun.

Sakura Girl (2010)

9+ rated songs: Sakura Girl (さくらガール) has one of the group’s most enduring melodies. It’s such a timeless song, even if the production is very 2010.
Other highlights: Nothing else hits me much on this one.

Fighting Man (2010)

9+ rated songs: They were really starting to hit their stride with Fighting Man. The rhythmic chorus is very effective.
Other highlights: Wake Up is a nice mid-tempo with a soaring hook.

Chancapana (2012)

9+ rated songs: Chancapana (チャンカパーナ) was the group’s big comeback as a four-piece and one of their strongest singles. It’s a real showstopper. Full Swing (フルスイング) is actually even better. It’s like the definition of “catharsis” in a pop song. A total “10”.
Other highlights: Tegoshi’s solo Addict is an energizing electronic dance song. His vocals are always amazing.

World Quest / Pocopon-pecorya (2012)

9+ rated songs: World Quest might be my favorite News song, which is weird because it’s one of their more straightfoward tracks. It’s perfect EDM-era pop music with a galvanizing chorus. It’s a definite “10” for me.
Other highlights: Pocopon-pecorya (ポコポンペコーリャ) is a total festival. So much fun! The disco throwback Quntastic! also deserves a mention.

One (For The Win) (2014)

9+ rated songs: Unsurprisingly, the R-Midwest Remix or World Quest also ranks up here. The original is cannon, but this an even beefier version.
Other highlights: One (For The Win) and Seven Colors are both fun sports anthems with great melodies.

Kaguya (2015)

9+ rated songs: Kaguya was my gateway drug to News and still one of my absolute favorites. I adore those chainsaw synths and 80’s-meets-traditional flair. A “10”! Also a “10” is Top Of The World, which is one of the groups biggest bangers. The chorus accelerates with such force.
Other highlights: Nothing else to mention. What… two “10”s isn’t enough??

Chum Chum (2015)

9+ rated songs: I shouldn’t love how much Chum Chum (チュムチュム) attempts a Bollywood sound, but it’s simply a perfect pop song. However, Megalomania (メガロマニア) is the undisputed “10” on this single. It’s one of my most played songs ever. I’m obsessed with its theatrical electro edge.
Other highlights: Hi wa Mata Noboru (日はまた昇る) is a gorgeous, strings-assisted anthem. Sweet Martini is wonderfully funky. Overall, this is one of News’ strongest set of songs.

Yonjushi (2015)

9+ rated songs: Yonjushi (四銃士 ) was the first News single I reviewed on the blog. I loved it then and I love it now. More songs should incorporate symphonies into their production.
Other highlights: Anthem continues their strong streak of sports… anthems. Meanwhile Eien (永遠) is a gorgeous ballad. The vocal arrangement is stunning.

Hikari no Shizuku / Touch (2016)

9+ rated songs: Touch is an addicting pop track with one hell of a hook. Meanwhile, Hoshi no Tabibito-tachi (星の旅人たち) is the kind of soaring anthem they excel at. I love the strings.
Other highlights: Hikari no Shizuku (ヒカリノシズク) is slightly more generic but still a great example of their sound.

Koi wo Shiranai Kimi-e (2016)

9+ rated songs: none
Other highlights: The single is a rare miss for me, but the upbeat Summer Lover (サマラバ) is fun.

Emma (2017)

9+ rated songs: Emma is a really great pop track with the kind of splashy chorus News do best. It’s a little reminiscent of Chancapana, actually.
Other highlights: Snow Dance has unexpected Celtic influence that works really well.

LPS (2018)

9+ rated songs: none
Other highlights: I don’t really love anything on here, and the Newsical is especially bad.

Blue (2018)

9+ rated songs: We’re back! Blue is one of their best anthems, targeted directly toward stadiums.
Other highlights: Yoro-yo Odore (夜よ踊れ) is slinky fun.

Ikiro (2018)

9+ rated songs: none
Other highlights: Ikiro (「生きろ」) is a great emotional anthem. Nothing else strikes me, though.

Top Gun / Love Story (2019)

9+ rated songs: none
Other highlights: Top Gun (トップガン) is a sturdy News single. Dragonism is more experimental and electronic.

Beautiful / Chincha Umakka / Canary (2020)

9+ rated songs: none
Other highlights: All three singles from this first release as a trio are worth checking out. Actually, the whole EP is very consistent. Changes, Oborozuki (朧月)and Endless Summer are all solid.

Burn (2021)

9+ rated songs: none
Other highlights: Burn is one of their heaviest songs and establishes their new rock-focused sound. Narukami (鳴神舞) follows suit.

Mirai-e / ReBorn (2021)

9+ rated songs: Mirai-e (未来へ) has the huge musical theater sound I love from this group. It’s like Les Miserables in J-pop form.
Other highlights: ReBorn continues the heavy rock from Burn while Junk goes even more aggressive.

Loser / Sanjushi (2022)

9+ rated songs: none
Other highlights: Both Loser and Sanjushi (三銃士) are incredibly solid singles. I reviewed them both on the blog. (0, 0, 0) is a boisterous bit of upbeat pop.

Gifted (2023)

9+ rated songs: none
Other highlights: Gifted has a satisfyingly theatrical sound. Koufukuron (幸福論) is the kind of straightforward rocker they do well.

With that in mind, here’s where you come in: I’m one person with one set of musical preferences, so please embed any other new J-pop tracks you’ve enjoyed in the comments so we can get a fuller spectrum each week.

*And just like I do with my reviews, I’ll wait until full versions of songs are available before posting them in this round-up. This will mostly apply to Johnny’s groups, who still limit the majority of their YouTube uploads to shorter, edited versions.

2023 Index

2024 Index: Dec 24 – Jan 6 // Jan 7 – Jan 13 // Jan 14 – Jan 20 // Jan 21 – Jan 27 // Jan 28 – Feb 3 // Feb 4 – Feb 10 // Feb 11 – Feb 17 // Feb 18 – Feb 24 // Feb 25 – Mar 2 // Mar 3 – Mar 9 // Mar 10 – Mar 16 // Mar 17 – Mar 23 // Mar 24 – Mar 30 // Mar 31 – Apr 6 // Apr 7 – Apr 13 // Apr 14 – Apr 20 // Apr 21 – Apr 27 // Apr 28 – May 4 // May 5 – May 11 // May 12 – May 18 // May 19 – May 25 // May 26 – Jun 1 // Jun 2 – Jun 8 // Jun 9 – Jun 15 // Jun 16 – Jun 22 // Jun 23 – Jun 29 // Jun 30 – Jul 6 // Jul 7 – Jul 13 // Jul 14 – Jul 20 // Jul 21 – Jul 27 // Jul 28 – Aug 3 // Aug 4 – Aug 10 // Aug 11 – Aug 17 // Aug 18 – Aug 24 // Aug 25 – Aug 31 // Sep 1 – Sep 7

THIS WEEK: September 8 – September 14

(Alexandros) – Boy Fearless

This is very 90’s. I like the mix of rap and rock. The chorus is especially good.

CNBLUE – Jinsei Sanka

CNBLUE has long since crossed over into “adult contemporary” territory for me.

DÉ DÉ MOUSE & Milk Talk – Beautiful Criminal (song of the week!)

So retro! I appreciate the chill, funky energy and those crystalline synths are gorgeous.

Haru Nemuri & Frost Children – Daijoubu Desu

The punky energy and jagged electronics are pretty fun.

Hey! Mommy! – Super Mommy Girls

This is just too strange not to share. (It’s kind of addicting, though…)

HiiT Factory – Crazy More Strange (song of the week!)

Their new EP is really fun and this is a very convincing TRF-style throwback.

HYDE – Last Song

I haven’t listened to HYDE’s new album yet but I’ve enjoyed the singles so far. This one’s much more reserved.

JO1 – Were Do We Go

A solid late-summer pop track. They’ve had stronger, they’ve had worse. The vocals are a highlight. The chorus is not.

Noisemaker – Exist 

I wrote about this one before but now it has a music video.

SG – Lucid Dream

A nice rock track.

SUPER★DRAGON – Downforce

I find this group soooo hit or miss. This contains both extremes in one package. I appreciate what it’s trying to do, but there’s too little song to go along with the cool production.

TRAell – Space Dance

A nice bit of electronic indie rock.

Yojiro Noda – Pain Killer

Not necessarily what I’d expect from the singer of Radwimps, but I like the lo-fi electronic sound.

This week’s old favorite:

L’Arc～en～Ciel – Lies and Truth (1996)

Since I’ve got frontman HYDE featured as part of this week’s round-up, how about some classic 90’s rock courtesy of his band L’Arc～en～Ciel? They have a number of fantastic tracks, but this is a personal favorite from their early years.

Vahn isn’t only a sharp songwriter. His unique vocal tone is instantly recognizable, melding equal parts gruff and smooth for a compelling contrast. He suits rock music well, though his work also carries a strong pop edge. Feeling is a wonderful blend of guitar and synth, tethered to a driving beat that feels instantly cathartic. It’s very much in line with his previous material, but rather than a retread this marks a more personal dive into what’s quickly becoming a signature sound.

Rapper BLKZEN adds a competing tone to the mix, though I’m not sure a guest was needed on this particular song. Vahn carries things just fine on his own, injecting so much character into the performance. This helps twist Feeling‘s more generic leanings, elevating the experience and ensuring the track’s longevity. I hope listeners give this a chance because I can easily see Vahn developing a super solid solo career.

Grade: B+

With over 4,000 songs on my iPhone’s “K-Pop Singles” playlist, I thought it would be fun to add a bit of unpredictability to my song review posts. So as a result, we have the “Random Shuffle Review” feature.

The rules are simple. I fire up my playlist, press “shuffle,” and whatever song plays first gets the full Bias List treatment!

Year Released: 2010

This week, I went back and watched the 2012 MBC Gayo Daejun for the first time in many, many years. It was such a rush seeing so many classic songs performed back to back, and made me realize once again just how much the sound of K-pop has changed in the past decade. One aspect that stuck out most was how powerfully almost every artist sang. Songs were built around a steady stream of robust melodies and extended, show-stopping notes. I miss this style of singing — not only in K-pop, but in pop music more globally.

This brings me to today’s random shuffle review. Nothing Lasts Forever precedes 2012 by two years but would have felt right at home during that Gayo Daejun (the group performed their even better Don’t Forget Me, btw). Before Girl’s Day found a signature sound, they dipped their feet in a few disparate genres. Nothing Lasts Forever stands as a unique point in their discography and the song is downright perfect.

Forever‘s frantic, electro-edged verses share much in common with the then-dominant 2NE1 and also feel oddly similar to today’s sing-talk style. But as soon as we hit the chorus, the song reveals itself as the kind of belt-it-out stunner that goes down in history. I love the sheer power of this simple refrain, allowing the girls to lay everything on the line.

As good as this is, it’s Nothing Last Forever‘s final minute that ensures the song’s legendary status. Imagine a 2024 version of this track, defiantly cutting off at the two-and-a-half minute mark and robbing us of the swirling fantasia of epic vocal harmony and ascending synth that follows. Forever transforms completely during this segment, offering its catchiest vocal hook and most dramatic production. Talk about ending on a high! You can almost feel the producers’ excitement upon reaching this turning point. Everything about the song was built to climax in this cathartic finale, making for a satisfyingly full storyline that sounds as stunning today as it did fourteen years ago.

Grade: A+